|
 Confucius
is still considered by many as just a traditionalist teacher.
However, those who read the Analects will recall that, when
confronted with what was his interpretation of Li or Ritual,
the Master replied: To question is also part of Ritual.
Maybe I should begin with my own interpretation of what
is a
designer.
It is my belief, and this has been stressed in some papers that I
delivered in designers' meetings as well as other seminars, that a
designer is someone who interprets the Past and the Present in order
to project an idea of a Future that is embedded in a consequent link
with what is known, yet bearing sufficient innovation.
In other words, a designer intermediates with his
creativity between what has been
seen and what is to come.
By nature I need innovation, I do not just accept passively what is given to me. It is not a question of rebellion, but
rather an inquisitive attitude that is not satisfied by studying past
designs. This attitude by no means represents a
belittling of History. Very much on the contrary, it requires the
admiration of the Past to create something that can somehow become
an innovation.
This is to say that while I enjoy tradition as a source of
information and of beauty, and have experimented with some
traditional Japanese fittings with the swords I bought, I
feel the spiritual need to design new swords.
Now, among other areas of my design work, I decided to design
swords on a professional basis, Contemporary Swords, such as the one on the left. Swords
that have been designed in past centuries do bring out my
admiration and I rejoice in seeing their beauty.
I'm ready to
take up the challenge of designing new renditions of swords from the
Past. Just take a look at my
Katsujin-ken
and how I make the specifications, so that distance is but an
illusion.
Remember the old Beetle, and how they designed a
contemporary version? Why should swords not receive the same
treatment or approach?
My ultimate goal however, is to assist people who can
understand that not only metallurgy is an art form by itself, but
the weapons that are produced require innovative designs that will
substitute the traditional patterns or shapes, and bring uniqueness into swords
which may be recognized everywhere as total works of contemporary
art as a whole.
It is time that contemporary swords
are regarded by Art Centers and Museums as artwork pieces and not
only as historical pieces, or cutters to be bashed around.
As an example, the sword on the left was originated in my mind when I saw
the metal brake of a Harley Davidson wheel. The design struck me
as very contemporary, and I did recognize the shape-function
relationship. Then I came home and a few days later I started to
design this hybrid sword, a mixture of Eastern and Western styles.
But that's exactly what I am myself. In fact the sword guard is
based on the Japanese Tsuba, but it has also been
inspired by the motorbike wheel. And I did a two pieces guard,
exactly like if it were the two sides of the brakes.
Then I designed a two edged blade but I added a long
blackened habaki shaped in the western fashion of what I
would like to call the birth of the blade so that the
scabbard will allow for a nice blade hold.
Yet
the blade is western, made of L-6 steel polished to high brilliance.
The handle is made of precious wood, and instead of a pommel, it
will bear a hybrid rendition of the kashira.
A more detailed version is visible through the menu's
work
samples.
While I state my preference to design new swords and
also provide them to you, I am available to conceive combinations of
traditional Japanese style katana, wakisashi and tanto
furniture, which is
from where I started to combine the fittings of my modest collection
. If you have navigated through this menu and found the contents of
this site to be attractive, you are welcome to contact me.
Meantime please note that the examples listed in this site
are my intellectual property and are copyrighted. Thank you.
Antonio
Conceição Júnior |
